The Koshin No Hi Festival of Taoist China: A Mini-Essay

     In Toaist China, between the third and sixth centuries C.E., it was believed three worms, known as sanshi, lived within each person and, on the night of koshin no hi, would rise into the sky and report the individual’s sins to the King of Heaven, who would shorten someone’s life based on the severity of their transgressions. To prevent the sanshi’s reportage, the Chinese would celebrate throughout the night of koshin no hi to keep themselves awake and halt the worms from leaving their body. As Chinese customs transitioned into Japanese culture, koshin no hi became a night to pray to the monkey god Sanno Gongen for a long life while practicing the act of seeing no evil, hearing no evil, and speaking no evil throughout their everyday life to give the sanshi nothing to report. From this practice, the three wise monkeys – Iwazaru, Kikazaru, and Mizaru – emerged and spread throughout Eastern societies, appearing in everything from artwork to the Jizo statue in Sugamo, Japan.[1]

 

Works Referenced

 

Hiroshi, Aramata. “Do Monkeys Have Secret Powers?” Nipponia 25 (2003): 24-25.

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[1] Hiroshi, 25.

Possessed Angel Figurine

$35 - $40 (based on 2023 prices)
Makes one stack of books

In 2023, I was commissioned by a local theater to serve as a consultant and prop builder for their production of The Haunting of Hill House, which was based on Shirley Jackson’s novel. Being a fan of the books since I was a teenager, I jumped at the opportunity and spent several months creating a collection of items to decorate both the house depicted on the stage and the cemetery created in the lobby to greet patrons before they entered the theater. For this prop, I built a companion for the creepy doll with books prop to adorn the set’s bookshelf. The director wanted the angel to subtly spin during one of the scenes, so I attached it to a synchronous motor to achieve the effect. It was my first time creating a moving prop and, if I were to redo the project, I would elect for a larger item because the figurine proved too difficult to see from the back of the audience.

• One large decorative storage box (11” x 8.5” x 2.9”)
• One small decorative storage box (8.5” x 6.5” x 2.1”)
• Three to four sheets of white tissue paper (20” x 20” per sheet)
• One 4 oz. bottle of decoupage medium
• One 2 oz. bottle of acrylic paint in flat black*
• One 2 oz. bottle of acrylic paint in flat brown*
• One 2 oz. bottle of acrylic paint in flat orange*
• One 2 oz. bottle of acrylic paint in flat turquoise*
• One 2 oz. bottle of acrylic paint in flat white
• One 2 oz. bottle of acrylic paint in glossy white*
• One 2 oz. bottle of acrylic paint in metallic copper*
• One 2 oz. bottle of acrylic paint in metallic gold*
• One 2 oz. bottle of acrylic paint in metallic silver*
• One 8 oz. can of oil-based interior wood stain in Jacobean*
• One 8 oz. can of oil-based interior wood stain in red chestnut*
• Five LED candles in varying sizes
• One hot glue gun and glue sticks
• One 3 rpm synchronous motor with a 7 mm coupling connector
• One 50/60 Hz lamp cord
• Two wire nuts
• One 7 mm coupling connector
• One 10 oz. can of interior/exterior, fast-drying spray paint in flat black
• One six-inch plastic angel figurine
• One six-inch section of black ribbon

1. Remove any decorative elements from the boxes to give them a smooth surface. Then, tear the tissue paper into small sections and roll them into tight balls. You want to create as many wrinkles as possible. Working in sections, apply a layer of decoupage medium to the box and then a piece of tissue paper. Leave their edges loose during this step because it will help to fashion creases during step two.  

2. Once the entire box is coated with tissue paper, apply a second layer of decoupage medium to fully adhere the paper to the cardboard. During this step, you will want to ensure there are plenty of wrinkles to give the leather texture. Also, fold the excess paper over the covers’ edges and glue it down for a cleaner appearance.

3. After the decoupage medium has dried, apply an even coat of white paint to the boxes. This will give them a uniform base coat to cover any images or writing and prevent them from showing through on the leather.

4. Once the white paint dries, give the boxes three washes of brown paint followed by a wash of black. You may want to test the consistency prior to doing this: the more water you add, the fainter/lighter the wash; the less water you add, the deeper/darker the wash.

5. To give the leather fuller depth, paint the boxes with the wood stain, applying a small amount to a paper towel or sponge and patting it onto the surfaces. I used Jacobian and red chestnut to add variety, but you can use the same color for each box to produce a uniform look.

6. Beginning with a base coat of black, stipple silver paint on the sides of the brown book and gold paint on the sides of the red book to make them look like worn goldleaf. Like step five, you can use the same color on both books for a unified appearance.  

7. Decide how you want the books stacked and where you want the candles. Then, trace the outlines onto the books. For visual interest, I clustered the candles together in towers, but you can place just one lone candle on the top book for an alternate look.  

8. Cut out the openings, ensuring they are slightly smaller than the outline to prevent the candles from slipping through. After you do this, use painter’s tape to wrap the openings’ edges to stop the cardboard from continuing to fray. You can also use black duct tape or electrical tape for this process.

9. Position the candles above their corresponding holes, ensuring you still have access to the power switch and battery compartment, and glue them in place. Then, use hot glue to build up layers of wax. The process works best if you move in stages, applying one layer at a time and allowing the glue to dry between each application. Also, I found that pumping the glue along the top of the candle and allowing it to naturally run downward creates the best results.  

10. Give the candles two to three coats of glossy white paint. You can always use an alternate color to cater the prop to your haunt’s chosen aesthetic or use multiple hues to make it look like a random assortment of candles.  

11. Use a 13/64 bit to drill a hole into the back of the lower book and feed the power cord through the opening. You want to be able to hide the cord, so it needs to enter the prop in the back or another spot that will not be seen by the audience.  

12. Using the same bit, drill a hole in the base of the top box and through the lid of the bottom box. Then, run the cords for the synchronous motor through the opening and use wire bits to connect them to those of the power supply.  

13. Determine where the angel will sit atop the upper book and use a 1/2 bit to drill a hole large enough to accommodate the coupling. Following this, wrap the edge of the opening with painter’s tape to prevent the coupling from catching on the cardboard.

14. On a newspaper-lined surface in a well-ventilated area, give the coupling connector and angel figurine an even coat of black spray paint. This will help mask the coupling if it shows on the final product and give the angel a base coat to apply the aged-copper patina.

15. Starting with a stippling of copper paint, build up layers of orange and turquoise to give the angel the look of aged metal. How heavy you apply the patina depends on your aesthetic: you can go heavy for an extremely weathered look or light for a softer touch of age.

16. Once the paint dries, glue the coupling to the base of the angel and black ribbon around the inner circumference to hide the machinery. You do not want the ribbon to catch on the cover, so it needs to be about an eighth of an inch above the surface to still cover the coupling but not drag.  

17. Attach the coupling to the synchronous motor and position the angel on the upper book, ensuring it can spin freely without snagging on the cover or surrounding candles. Following this, assemble the books and glue them all in place. For a sturdier hold, consider using superglue rather than hot glue or tacky glue.

18. The prop can be enhanced further to correspond with your haunt’s theme. For instance, the names of the books can be written on their spines or a swarm of insects can be glued to the covers.  

*You will not use the entire bottle’s content for this project.

Skull Planter

$15 - $20 (based on 2023 prices)
Makes one planter

In 2023, I was commissioned by a local theater to serve as a consultant and prop builder for their production of The Haunting of Hill House, which was based on Shirley Jackson’s novel. Being a fan of the books since I was a teenager, I jumped at the opportunity and spent several months creating a collection of items to decorate both the house depicted on the stage and the cemetery created in the lobby to greet patrons before they entered the theater. For this project, I built several stone-like skull planters to cluster among the weathered stone tombstones in the lobby.

• One seven-inch plastic skull planter
• One 10 oz. can of interior/exterior, fast-drying spray paint in flat black*
• One 10 oz. can of interior/exterior, fast-drying spray paint in flat brown*
• One 10 oz. can of interior/exterior, fast-drying spray paint in green apple*
• One 10 oz. can of interior/exterior, fast-drying spray paint in olive*
• One 5 oz. tube of siliconized caulk*
• One 2 oz. bottle of acrylic paint in flat black*
• One 2 oz. bottle of acrylic paint in flat brown*
• One 2 oz. bottle of acrylic paint in flat gray*
• One 2 oz. bottle of acrylic paint in flat olive*
• One 2 oz. bottle of acrylic paint in flat white*
• One sheet of cardboard large enough to trace the outline of the planter’s opening
• One 4 oz. bottle of all-purpose tacky glue*
• One four-inch floral foam disk
• One hot glue gun and glue sticks
• A random assortment of old sticks
• One 2 oz. bag of floral moss
• One four-foot garland of artificial leaves (roughly thirty leaves per garland)

1. Thoroughly wash and dry the planter. If there is any sticker residue, use rubbing alcohol to remove it. Then, use a paper towel to pat the caulking onto its outer surface. Apply a small dollop to the towel and gently dab it to create a stone-like texture. Do not overthink your application because a random pattern produces a more natural look.

2.  Allow the caulking to dry for at least twenty-four hours and then, on a newspaper-lined surface in a well-ventilated area, give the inside and outside of the planter an even coat of black spray paint. You can apply additional layers; however, keep in mind that this is the base coat and much of it will be covered by the other colors.

3. Use a stippling brush to build up layers of gray and white paint, working from dark to light to give the prop the look of stone. If one color becomes too overpowering, you can apply more of the other color to dial it back.

4. To age the prop, water down brown paint and brush it along the edge of the planter, allowing it to run downward and settle into the fissures. Following this, use the stippling brush to pat olive paint randomly onto the prop to mimic moss. How much of both colors you apply depends on your chosen level of weathering.

5. To give the prop extra weight and prevent it from being top heavy, fill the base of the planter with a large rock or another hefty item. Do not make it too heavy, though, because this can make the prop difficult to lift.  

6. Trace the outline of the planter’s opening on a sheet of cardboard and cut it out. To give the illusion the planter is full of dirt, the cardboard will sit near the top and create a base for you to adhere the sticks.  

7. Glue a foam disk to the bottom of the cardboard to give extra support to the branches. Once this is completed, nestle the cardboard into the planter’s opening and glue it in place. You may need to gradually trim the disk until it sits as low within the planter as you would like.  

8. Darken the cardboard with a coat of black paint. Although this step is optional, it helps cover any images or writing in case they become visible through the moss. Then, make a hole large enough to accommodate the sticks, insert them through the hole and into the foam, and glue them in place. Depending on their height, you may need to push them further into the cavity of the planter to make the prop more stable.  

9. Coat the cardboard with a light layer of glue and adhere the moss. For greater visual impact, you can also add clusters of moss to the sides. Try to use discretion, though, since this detail can easily overpower the prop.  

10. Separate the leaves from the garland and arrange them onto a sheet of cardboard or newspaper. To prevent the leaves from moving, adhere them to the surface with painter’s tape. Beginning with a base coat of green apple, build up layers of black, brown, and olive to make the leaves look dead. Once they are dry, turn the leaves over and repeat the process on the other side.  

11. For further distress, use a lighter to wilt the leaves and burn their edges. I found a Butane gas lighter, because of its length, makes the process easier and safer. Likewise, perform this step in a well-ventilated area and near either a sink or pan of water.  

12. Randomly glue the leaves to the branches and moss. Do not overthink the application, since you want the foliage to be sparse to replicate the way dead branches appear.  

13. Depending on your chosen aesthetic, you can further enhance the prop with elements like insects crawling across its surface or disheveled crows hanging from its branches.

*You will not use the entire bottle’s content for this project.

"This living hand, now warm and capable" (A Poem)

Written sometime around 1819, John Keats’ poem may or may not be a complete work, with some literary scholars contending it is a brief composition meant to be part of a larger play or poem.[1] Due to its potentially incomplete nature, there are a variety of interpretations associated with the terse text. One maintains the poem alludes to the idea that the hand of the writer serves as a mystical device which allows the storyteller to commune with spirits and convey their stories.[2]

This living hand, now warm and capable
Of earnest grasping, would, if it were cold
And in the icy silence of the tomb,
So haunt thy days and chill thy dreaming nights
That thou would wish thine own heart dry of blood
So in my veins red life might stream again,
And thou be conscience-calm’d – see here it is –
I hold it towards you.[3]

Works Referenced

Keats, John. “This living hand, now warm and capable.” The Complete Poems and Selected Letters of John Keats. Ed. Edward Hirsch. New York: Alfred A. Knopf, 2001. 365.

Rowe, Katherine. Dead Hands: Fictions of Agency, Renaissance to Modern. Stanford, CA: Stanford University Press, 1999.

Wu, Duncan. Romanticism: An Anthology. 4th ed. West Sussex: Wiley, 2012.
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[1] Wu, 1503.
[2] Rowe, 114.
[3] Keats, 365.

Sorceress Wreath

$15 - $20 (based on 2023 prices)
Makes one wreath

In 2022, I entered five props into the fine arts competition at the Colorado State Fair, where the industrial monster lost the People’s Choice Award by only three votes. The following year, I entered five more props to the fine arts competition and this wreath to the holiday wreath competition, where it won second place. Although I catered it to a witchcraft theme, you can substitute the items for an alternate scheme.

• One twelve-inch grapevine wreath
• One set of orange LED micro-lights (roughly sixteen feet long)
• Four or five four-foot garlands of fall leaves (roughly thirty-six leaves per garland)
• Hot glue gun and glue sticks
• One twelve-inch thatch broom
• One wooden crow decal (roughly four inches in diameter)
• Six artificial orange dahlias in varying sizes
• Four small plastic pumpkins
• One sheet of copy paper with potion ingredients printed on it
• One sheet of cream-colored cardstock
• At least four tablespoons of dark roasted coffee grounds
• One pan large enough to soak the cardstock and copy paper
• One 4 oz. bottle of all-purpose tacky glue*
• One small plastic snake

1. Glue the battery pack for the LED micro-lights to the upper portion of the wreath and then wrap the strand of lights around it. As you do so, try to evenly space the lights so there are not portions with more illumination than others.

2. Separate the leaves from their garlands. Although you could do this while you glue them to the wreath, I found that performing this step beforehand made the following process much easier. Plus, it gives you a clear idea of exactly how many leaves you have. Then, line the inner and outer edges of the wreath with the leaves, staggering their placement so foliage with the same hues and sizes are not clustered together. Do not use all of the leaves, though (you want to reserve some for step eight).

3. Position the thatch broom and crow decal on the front of the wreath and, once you have determined their location, glue them in place. How and where you position them is entirely up to your chosen aesthetic.

4. Fill the large gaps in the front of the wreath with the dahlias. As with step two, you want to arrange them so that flowers of the same dimensions are not placed together. Then, accent the wreath with the small pumpkins.

5. Glue the copy paper to the cardstock. Once you have done this, boil about twelve cups of water and add the coffee. The longer you allow the coffee to brew, the darker the stain will become. Likewise, greater amounts of coffee will produce a richer stain. Since I wanted uneven spots rather than a unified discoloration, I placed the cardstock on a baking sheet, splashed coffee and grounds onto the surface, allowed the liquid to sit for a few minutes, and then moved it to a space to dry.

6. After the cardstock dries, haphazardly cut out the ingredients. You do not want perfect edges, but jagged and uneven lines. For additional visual interest, use a lighter to burn the edges (do this in a well-ventilated area and near either a sink or pan of water).

7. Weave the ingredients through the foliage and glue them in place. You want them to be readable, so do not cover too much of their wordage with the flowers and leaves.

8. Use the remaining leaves to fill in any gaps which remain on the front of the wreath and give it extra girth. As with steps two and four, vary the color patterns so that leaves with the same hues and shapes are not concentrated in one area.

9. Accent the broom with a small snake, using superglue for a sturdier hold. Akin to the crow decal, you can use an alternate item, such as a spider or bat, to cater the prop to your haunt’s needs.

10. If the wreath did not come with a hanging loop, you can fashion one out of twine or steel wire and attach it to the wreath just above the battery pack for the micro-lights.

*You will not use the entire bottle’s content for this project.